§ Robot 6 asks Yow! What have they done to Little Lulu? Apparently, in Brazil, they’ve made her and her gang manga-style skaters, videogamers and fashionistas. In all honesty, this doesn’t bother us much…The original Lulus are still there, sitting right on my shelf, so nothing has been hurt in the making of this comic. Plus…the originals were of their time — kids lived a simple suburban life without electronic stimulation, aside from the radio and an occasional movie. That life is nonexistent, and the kids of today are just as funny and poignant as ever. So…sure, give it a whirl. The PTB would probably be better off thinking of something original, but that might be too hard.

§ Colleen Doran alerts us to a convention con artist who has everyone from Edward James Olmos to Robert Piccardo on the rampage against him for unpaid fees. Not cool.

MoCCA Section:

§ We’ll have a longer overview of MoCCA along in a bit, but the happy posts where people show off their treasures from the show are in abundance. Here’s one from Ricky Purdin. Geekanerd has another. AndAlex Robinson a third. Since we didn’t get as many comics as we would have liked, we’ll try to link to a few more tomorrow.

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Comments

Thanks for the report on the Jumpcon scam. There was supposed to be a Jumpcon in Chicago last year, and I was going to exhibit — but something didn’t smell right and I canceled. Glad I did, because the show never was held.

I enjoyed looking at Gary Panter’s linked list of fine artists who should influence comics.

I can see a “collage” style being effective in comics, maybe even successful. But it would have to accompanya story that was suited for it, maybe sci fi or something to do with modern technology and consumerism. It’s less likely that a collage of images on shiny paper would attract the typical ” gimme big muscles” fan, unless maybe in a Bizarro or dream sequence.

What’s interesting (to me) about the Jumpcon article is how much people were contracted to be paid. I really enjoyed Claudia Christian on “Babylon 5″, but does she usually make $13,000 for an appearance? That seems like a lot of money.

The contracts for some actors were not for one appearance but for multiple appearances, as Jumpcon was a series of shows throughout the country, like Creation Conventions.. So, while Christian may have been contracted for $13,000, the info in the original article does not make it clear that that may have payment been for more than one event.

Regarding the top five (which are impressive)… what about Don Freeman, of “Couduroy” fame? Drawn & Quarterly recently republished “Skitzy”, and Freeman was a pioneering self publisher, publishing 14 (18?) editions of “Newsstand” from 1936 – 1955.

“Finally, here is the MUST READ post of the day, with Gary Panter’s list of fine artists who should influence comics. Amazing, amazing stuff.”

Amazing? Yes! Old news to me and I’m sure artists like Jim Steranko, J. H. Williams III, Melinda Gebbie, Dave McKean, David Mack, Alex Ross, Eddie Campbell, and just about every artist that helped to pioneer Vertigo. Any comic artist would be better for checking them out. Anyone at all would.
I’ve been involved in the gallery world way more than I’ve been involved in comic books for the last few years, and that’s something I intend to correct. Don’t get me wrong. I love showing in galleries, but I can see that that aspect of the art (at this time) could learn a thing or two from the world of comics, as well.
When I hear things like “call yourself an “artist” and start educating yourself in the give and take of the gallery scene. It’s the only way you’re going to make money.” I’d cation artists not to go running to the galleries for a quick fix. Gallery artists work just as hard as the comic guys to get where they are, and if you think the comics market is flooded, just wait. It’s very seductive, I know, but if you don’t know it inside and out, and love it (REALLY LOVE IT LIKE YOU LOVE COMICS) than your just going to end up beating your head against the wall, and failing. Artistic influence is a wonderful thing, but there also comes a point where many gallery artists compromise their integrity (sell out) so that they can fit within what they think the galleries will buy. That might work for a while, if all you’re after is your 15 minutes of fame, but it’s those artists that stay true to what they truly love and believe in, that make a lifetime’s worth of work out of it, just like in the comics industry. In conclusion, if you want to do comics, just stay in comics and don’t let anyone tell you where the money is. If you’ve got something good, the money is right where you are.

Christopher, I agree about doing the art that you love/ want to do. Once you stop doing that, then where is the next rung down the ladder? In other words, if a person tries to work strictly “commercial”, then where does he set the limits on what he will do to be popular or busy?

Do you switch to painting cafe scenes when cafe paintings are selling, or not? Emulate Hudson River school style or Alex Ross “white light source” style, or Thomas “painter of light” Kinkaid?